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Schumann’s Pursuit of Bach: A Comparison of Bach’s B-Flat Minor Fugue in the Well-Tempered Clavier I and Schumann’s Vier Fugen, Op.72 No.2
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Abstract
The music of the Baroque and Romantic eras is estranged not only by time span but also by style and idea; however, a significant legacy of Baroque composer is traceable in Romantic music. Signaling it by the performance of J. S. Bach’s St. Matthew Passion under Felix Mendelssohn’s aegis, a quintessential repercussion of Bach's music was manifested in Robert Schumann’s composition. Schumann’s passionate pursuit of Bach bore fruit in his successive compositions of fugue in 1845. Enraptured by “Fugenpassion,” he put several fugues together in substantial concert pieces. One interesting example revealing a concrete relation to the Well-Tempered Clavier is detected in the second fugue of Schumann’s Vier Fugen, Op.72 (composed in 1845 and published in 1852), which shares a subject with Bach’s B-flat minor fugue in the Well-Tempered Clavier Book 1. Extending the motive-like subject to a phrase-long subject, Schumann approached his fugue as a thematic characteristic piece, in which Romantic composers portray an extra-musical aspect. Despite the similarity of the subject, Schumann’s treatment of fugue reveals the problem of Schumann’s reception of Bach. Whereas the Bach fugue shows how a composer develops an idea established the power of the subject’s issue as in rhetoric, Schumann’s fugue lacks this rhetorical conception. In this perspective, Schumann’s structure, unfolding of the material, and discourse as revealed throughout the fugue will be discussed in comparison with Bach’s B-flat minor fugue. A comparison of the two fugues begs the question about Schumann’s reading and misreading of Johann Sebastian Bach.
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